The Margam:

Guru Brahma

Ragam: Nata; Talam: Eka

One of the most popular slokams taught very early to students, this slokam pays obeisance to gurus - the teachers who help the student go from darkness (ignorance) to light (knowledge). Brahma - the creator, Vishnu - the protector, and Shiva - the destroyer - are the Hindu Trinity - representing nature in its full form - and as a student - we need to be able to learn from nature - from everything surrounding us. 

The student today uses this slokam to perform her traditional Bharatanatyam Namaskaram – seeking Mother Earth’s blessings, bowing to the Almighty, the Guru, and the Audience by placing the Anjali hasta above her head, at her forehead and at her heart respectively.

Mallari

Ragam: Nata, Talam: Adi

Mallari is unique piece played traditionally on the Nadaswaram when the 'utsava moorthy' or temple deity is being taken out in a procession. In the Bharatanatyam repertoire, it is performed as an invocation item setting the stage for an auspicious beginning for both the program and for the dancer’s journey as a performer. This item focuses on the Nritta aspect of dance – pure technical work, showcasing the basic adavu- vocabulary set to rhythmic patterns, allowing the dancer to “warm-up” to the evening’s performance as well.

Varnam

Ragam: Shankarabharanam, Talam: Adi

Varanam is one of the most important and complex part of the Bharatanatyam repertoire, it is the piece de’ resistance of the Bharatanatya margam. The varanam incorporates all aspects of dance such as mimetic expression (abhinaya), intricate footwork (Nritta) incorporated through grace and style. The varnam gives the dancer the opportunity to explore the story telling skill and role playing. This varnam depicts the nayika pining for Lord Vishnu, who she would like to marry. This is a timeless Dandayudhapani Pillai classic composition, in Tamil.

Jaya Jaya Shambo

Ragam: Raagamaalika, Talam: Adi

This dance is in praise of Lord Shiva, depicting him doing the “Ananda Tandava” with his consort - Parvati, in the golden court or “kanaka sabha”.  Seeing Shiva as the epitome of compassion – Karunakara, she seeks his blessings, while describing all his various attributes, carrying the Ganaga in his matted hair (Gangadhara), along with the crescent moon. He is the father of Ganapathi, and Skanda, while being Uma Maheshwari’s beloved. The dancer is challenged to showcase Nataraja’s many different poses in this Tamil piece, testing her acrobatic abilities.

Thillana

Ragam: Kadanakuthuhalam, Talam: Adi

A Thillana is a rhythmic piece in Carnatic music that is traditionally performed at the end of the concert and demonstrates the technique of precision, timing, and stability. This thillana is a classic composition of M.Balamurali Krishna, rendered in Telugu. Set to an extremely lively ragam, this is a delight for any dancer. This thillana is in praise of Lord Krishna. Describing his beautiful face (vadana) and delightful lips (adharamulu) that show a brilliant smile, his melodious flute sending lilting tunes, the dancer is thinking of Krishna and wants him to come and be close to her.

Mangalam

Ragam: Sourashtra, Talam: Adi

The evening concludes with the traditional Saint Thyagaraja’s classic – which is more famous for starting in the charanam – Pavamana. Student using this to thank Mothe Earth, the Almighty, Guru, and the audience for gracing this occasion and showering their blessings on her.